The phrase “opposites attract” is an oft-repeated (and sometimes clichéd) sentiment, but there are instances when two dissimilar things work perfectly together, creating something truly beautiful in the process.
One case in point: in this video, Claude Debussy’s beloved Claire de lune is given a surprising—and mesmerising—visual accompaniment, courtesy of the French acrobat and choreographer Yoann Bourgeois. Watch and be transported…
Here are four more neglected classical Christmas works from the twentieth century, which is the second of my two part series. (You can read the first part here.) Without further ado, let’s continue…
1. Daniel Pinkham: Christmas Cantata (1957)
An American composer and organist who excelled at composing pieces for choir, Daniel Pinkham’s musical language embraced the gamut of twentieth century composition, including both tonal and atonal idioms. His Christmas Cantata, written for choir, organ, and two brass choirs, is perhaps his best-known work.
The piece is divided into three movements – the first opens dramatically, as the choir (singing in Latin) implores the shepherds to tell them what they witnessed at the manger. The music then becomes upbeat and dancelike as the shepherds speak of the marvel of seeing the newborn baby Jesus. (The score here is reminiscent of Stravinsky, full of tricky rhythmic devices and unusual harmonies.)
The second movement is a transcendent setting of the famous Latin text “O Magnum Mysterium,” which recalls the long, flowing melodic lines of Gregorian chant. The third and final movement sets the words of the angels – “Gloria in excelsis Deo” (“Glory to God in the highest”). It begins with soft excitement but gradually grows in volume before ending on a splendorous “Alleluia.” Surprisingly, Pinkham manages to pack a ton of musical material into a tight, economic package – all three movements combined are only about ten minutes total.